Between Tachisme and Abstract Expressionism

Bluhm, Francis, Jenkins

521 West 26th Street

October 5 – November 10, 2017

Norman Bluhm (1921-1999) Pequod, 1963

Norman Bluhm (1921-1999)
Pequod, 1963
Oil on canvas, 65 3/4 x 90 1/2 inches
SOLD

Norman Bluhm (1921-1999) Black and Red, 1953

Norman Bluhm (1921-1999)
Black and Red, 1953
Oil on canvas, 48 x 32 inches
Signed, titled, and dated verso: "Norman / Bluhm / Black & Red / 1953"

Norman Bluhm (1921-1999) Unknown Nature, 1956

Norman Bluhm (1921-1999)
Unknown Nature, 1956
Oil on canvas, 51 x 76 1/2 inches
Titled, signed, and dated verso: "UNKNOWN / NATURE / NORMAN / BLUHM 1956"

Norman Bluhm (1921-1999) Untitled, 1956

Norman Bluhm (1921-1999)
Untitled, 1956
Watercolor on paper, 30 x 42 inches
Signed and dated lower left: "BLUHM / 56'"

Norman Bluhm (1921-1999) Untitled, 1957

Norman Bluhm (1921-1999)
Untitled, 1957
Watercolor on paper, 29 3/4 x 36 3/4 inches

Norman Bluhm (1921-1999) Sans Title, 1963

Norman Bluhm (1921-1999)
Sans Title, 1963
Acrylic on paper mounted on canvas, 31 x 22 1/2 inches
Signed and dated lower right: "bluhm / '63"

Norman Bluhm (1921-1999) Untitled, 1964

Norman Bluhm (1921-1999)
Untitled, 1964
Acrylic on paper, 40 3/8 x 26 1/2 inches
Signed and dated lower right: "Bluhm / 64"
Signed and inscribed verso: "Bluhm / 64 / #20"

Norman Bluhm (1921-1999) Untitled, 1967

Norman Bluhm (1921-1999)
Untitled, 1967
Acrylic on paper, 29 7/8 x 22 3/8 inches
Signed and dated lower right: "bluhm 67"

Sam Francis (1923-1994) Untitled (SF62-020), 1962

Sam Francis (1923-1994)
Untitled (SF62-020), 1962
Acrylic on paper, 22 x 30 inches
Signed and dated verso: "Sam Francis / 1962"

Sam Francis (1923-1994) Untitled, No. 35 (SF64-628), 1964

Sam Francis (1923-1994)
Untitled, No. 35 (SF64-628), 1964
Gouache on paper, 4 1/2 x 5 3/8 inches
Signed and dated on verso in pen: "Sam Francis"
Also inscribed on verso with "Pasadena Box" number in pencil: "35"

Sam Francis (1923-1994) Untitled SF64, 1964

Sam Francis (1923-1994)
Untitled SF64, 1964
Acrylic and watercolor on paper, 28 5/8 x 22 1/4 inches
Signed, dated, and inscribed on verso " Sam Francis / 1964 / Tokyo"

Sam Francis (1923-1994) Untitled (Tokyo Series), 1970

Sam Francis (1923-1994)
Untitled (Tokyo Series), 1970
Watercolor on paper, 41 x 29 inches
Inscribed, signed, dated, and titled verso: "07-008 / Sam Francis / 1970 / Tokyo"

Sam Francis (1923-1994) Untitled, 1971

Sam Francis (1923-1994)
Untitled, 1971
Acrylic and gouache on paper, 10 5/8 x 14 1/2 inches
Signed and dated verso: "Sam Francis / 1971"

Sam Francis (1923-1994) Los Angeles, 1978

Sam Francis (1923-1994)
Los Angeles, 1978
Acrylic and oil on gessoed paper, 17 3/4 x 23 3/4 inches
Signed, dated, and inscribed verso: "Sam Francis / 1978 / (on prepared paper) gessoed paper"

Sam Francis (1923-1994) Slowly Snail Maybe or Eye Lye, 1987

Sam Francis (1923-1994)
Slowly Snail Maybe or Eye Lye, 1987
Acrylic on canvas, 7 1/8 x 5 1/2 inches
Titled, signed, and dated on stretcher verso: "Slowly Snail maybe / or eye lye / Sam Francis / Aug 18 1987"

Sam Francis (1923-1994) Untitled, 1989

Sam Francis (1923-1994)
Untitled, 1989
Acrylic on paper, 18 1/2 x 12 inches
Signed and inscribed verso: "Sam Francis / Carpenter Sam"

Sam Francis (1923-1994) Untitled (SF92-54), 1992

Sam Francis (1923-1994)
Untitled (SF92-54), 1992
Acrylic on paper, 22 1/2 x 30 1/2 inches
Stamped on verso with the Sam Francis Estate stamp

Sam Francis (1923-1994) Untitled (SFP94-80), 1994

Sam Francis (1923-1994)
Untitled (SFP94-80), 1994
Acrylic on canvas, 14 x 18 inches
Dated and stamped on verso: "7/25/94"

Paul Jenkins (1923-2012) Sent From, 1955

Paul Jenkins (1923-2012)
Sent From, 1955
Watercolor on paper, 30 1/2 x 22 1/2 inches
Signed lower left: "Paul Jenkins"
Signed, titled, inscribed, and dated verso: "Paul Jenkins / 'Sent From' / New York 1955"

Paul Jenkins (1923-2012) Phenomena Sanctuary, 1975

Paul Jenkins (1923-2012)
Phenomena Sanctuary, 1975
Acrylic on canvas, 50 x 60 inches
SOLD

Paul Jenkins (1923-2012) Phenomena: Hokusai Fall, 1974

Paul Jenkins (1923-2012)
Phenomena: Hokusai Fall, 1974
Acrylic on canvas, 30 x 40 inches
Signed twice upper left: "Paul Jenkins / Jenkins"
Signed, titled, and dated on stretcher verso twice: "Paul Jenkins Phenomena Hokusai Fall 1974 / 'Paul Jenkins Phenomena Hokusai Fall' 1974"

Signed, titled, and dated on canvas overlap verso: "'Paul Jenkins Phenomena Hokusai Fall' 1974"

Paul Jenkins (1923-2012) Phenomena Rainbow Tellin', 1977

Paul Jenkins (1923-2012)
Phenomena Rainbow Tellin', 1977
Acrylic on canvas, 72 x 50 inches
Signed lower right: "Paul Jenkins"
Signed, titled, and dated twice to verso

Paul Jenkins (1923-2012) Phenomena Ultra Scape, 1977

Paul Jenkins (1923-2012)
Phenomena Ultra Scape, 1977
Watercolor on paper, 22 3/8 x 29 1/2 inches
Signed lower left: "Paul Jenkins"
Signed, titled, dated, and inscribed verso: "Paul Jenkins / Phenomina Ultra Scape / 1977 St. Croix"

Paul Jenkins, Phenomena Manolette Red, 1979

Paul Jenkins (1923-2012)
Phenomena Manolette Red, 1979
Watercolor on Arches paper, 41 1/2 x 30 inches
Signed lower center: "Paul Jenkins"
Signed, titled, dated, and inscribed on verso: "Paul Jenkins / 'Phenomena Manolette Red' / 1979 St. Croix"

Paul Jenkins, Portrait New York, New York, 1981

Paul Jenkins (1923-2012)
Portrait New York, New York, 1981
Acrylic over color silkscreen, 45 x 33 3/8 inches (sight size)
Edition of 125
Signed and dated lower left: "Paul Jenkins 1981"
Titled lower right: "Portrait New York New York"
Published by Abrams Original Edition

Paul Jenkins (1923-2012) Phenomena Hamlet The Dane, 1989

Paul Jenkins (1923-2012)
Phenomena Hamlet The Dane, 1989
Acrylic on canvas, 16 x 13 inches
Signed lower left: "Paul Jenkins"
Signed and titled verso: "Paul Jenkins / Phenomenon / Hamlet / The / Dane"

Press Release

With Between Tachisme and Abstract Expressionism: Bluhm, Francis, Jenkins, Hollis Taggart Galleries will present a selection of works by Postwar painters Norman Bluhm, Sam Francis, and Paul Jenkins that illustrates their function as a bridge between the avant-garde movements in New York and Paris. All three artists spent most of the 1950s together in Paris, bringing with them the gesturalism of the New York School. Into this they incorporated the luminous light that is characteristic of French art, beginning with the early modernisms of the Impressionists and Symbolists and up to contemporary tachistes.

In the early 1950s, Francis, Bluhm, and Jenkins met almost daily with a small group of artists and thinkers that also included Joan Mitchell, Jean-Paul Riopelle, and Michel Duthuit. This group adapted the raw energies of Abstract Expressionism to the more refined Parisian aesthetic in often large, allover canvases that showcase deftly layered color. While Francis and Bluhm approached their work with brush in hand, Jenkins developed a pouring technique that utilized gravity to produce vibrant washes of paint. All adopted the free-flowing abstraction characteristic of tachisme, which was developing in Paris at this same time.

Tachisme gets its name from tache, meaning a stain or splash. This French sister to American Abstract Expressionism first coalesced in the 1951 exhibition Un Art Autre, curated by French critic Michel Tapié. Francis’ work was included in this exhibition and he would continue to be closely aligned with the movement. He and Bluhm shared a Paris studio during this period. Their tight relationship is evident in large, dense canvases of the early and mid-1950s that reveal a careful study of French modernism and its signature luminosity. Monet, in particular, held great appeal for these artists who in 1953 had the chance to view his late water lily paintings at the newly reopened Musée de l’Orangerie.

For each of the three artists highlighted in this exhibition, time in Paris provided a pivotal foundation for the rest of their careers. Francis’ involvement with tachisme helped solidify a personal style built around expressive open space. Bluhm’s dense yet luminous compositions come out of a deep knowledge of French art. And the pouring technique that Jenkins developed in Paris became the hallmark of his lengthy career. Though none of them stayed in Paris indefinitely, the time spent there together was indispensible to each. 

Between Tachisme and Abstract Expressionism: Bluhm, Francis, Jenkins will be on view at the gallery’s Chelsea location from October 5 to November 10, 2017. An illustrated brochure with an essay detailing the relationship between these three artists by Ashley Park will accompany the exhibition. Formerly of Hollis Taggart Galleries, Park’s previous publications include Alex Kanevsky: Thoughts on Some Paintings and Marla Friedman: Capturing the Spirit.

 

PRESS CONTACT
Ginx Hudgins
ginx@hollistaggart.com
212.628.4000